​Sam Morrow (from the album Gettin’ By On Gettin’ Down available on Forty Below Records) (By Joe Burcaw) 
 
What can I say, Rock’n’Roll isn’t dead, and thank the heavens above for the Lone Star state’s next big export Sam Morrow, now based in Los Angeles, California. This guy writes some ass kicking, groove-oriented songs that makes the listener hit repeat. Does that ever happen anymore, and am I dating myself by using the word ‘repeat’? I’m a sucker for rhythm sections who possess that quintessential deep pocket connection, and it’s all over his latest release “Gettin’ By on Gettin’ Down”. Boy oh boy do these guys lay it down! “Rosarita” was the first song I listened to, and it instantaneously won me over with its ultra-tight syncopation and heavy emphasis on the downbeat. I couldn’t help but think of Joe Walsh and The James Gang with the legato slide guitar licks reminiscent of a B-side to “Life in the Fast Lane”. Slide guitar is an acquired taste often linked to Walsh, Duane Allman, and George Harrison, but it works seamlessly within Morrow’s compositions too, which isn’t always easy to accomplish. I noticed the lack of acoustic guitar being supplemented by loud distorted and treated electric guitars throughout this recording, which brought a smile to my face. Another common theme is the :30 second guitar solos getting us to the finish line (full speed ahead) at the end of a lot of the tunes. A real treat for all of you guitar slingers out there! It’s difficult pinpointing who Morrow sounds like vocally, but I hear a lot of Lynyrd Skynyrd and Josh Homme (Queens of The Stone Age) influences throughout. “Money Ain’t a Thing” is a straight forward Rocker, eschewing crafty lyrics about of a man with not a care in the world, ‘just when I think I’m making ends, I’m in the red again but that ain’t a thing to me’. The echoed noise guitar solo during the bridge would make John Frusciante a proud man. ‘All I need is my geetar and my shit kicking band’, true words to live by. I’m usually not a fan of drummer’s who use the ride cymbal as a featured part, but it totally works in the up-tempo bluesy number “Round ’N Round”. A loose laidback feel with smatterings of The Allman Brothers all over the place. The guitar solos are well crafted and executed perfectly, creating openness and space in order to land melodic outbursts in all the right places. I have to say, if times were different and live music was in full swing I would be at every Sam Morrow show within a 50 mile radius of my home. This man’s songwriting is unique, completely original and 100% balls to wall Americana!
 
 
Listen and buy the music of Sam Morrow on AMAZON
For more information head on over to the Sam Morrow website
 

​Andrew Farris Interview – Dave Steinfeld (from the album Top of the World available on BMG Australia)
Most people know Andrew Farriss from his work with INXS.  Farriss not only co-founded the Australian sextet; he was also its keyboardist and, along with the late Michael Hutchence, its main composer. 
 
INXS got their start in Sydney, Australia and made their name playing the pub scene in and around that city. Farriss came from a musical family and he and Hutchence (who would become the band’s frontman) were school friends. His older brother Tim, meanwhile, was a guitarist who had started a band of his own with his friend Kirk Pengilly (who played both sax and guitar). Eventually, the two duos joined forces. They were rounded out by a rhythm section of Garry Beers on bass and the youngest Farriss brother, Jon, on drums. This lineup of INXS would remain unchanged until Hutchence’s death some 20 years later. 
 
Although they’d already released two albums in their native Australia, INXS didn’t see an American release until late 1982, when Shabooh Shoobah arrived. While it sold respectably, and produced a moderate hit in “The One Thing,” there was little to indicate that five years later, INXS would be, without exaggeration, one of the biggest bands on the planet. Kick, their fourth American album, was a global phenomenon. Here in the States, it rocketed to number three on the Billboard album charts, and scored the band four top 10 hits: “New Sensation,” “Devil Inside,” “Never Tear Us Apart” and the chart-topping “Need You Tonight”. The songs were great, the timing was right, and Michael Hutchence’s good looks certainly didn’t hurt (this was the MTV era, after all). Unfortunately, as the ‘90s dawned, INXS became somewhat less popular and relevant, despite releasing more good work (particularly 1992’s Welcome to Wherever You Are effort). In late 1997, Michael Hutchence was found dead in a Sydney hotel room of an apparent suicide. Though the band has recorded with other vocalists over the years periodically, the fact is, you can’t replace a frontman like Michael Hutchence and INXS — as we knew it least — ceased to exist.
 
The other five band members, however, have kept busy over the years. And last month, Andrew Farriss — who has written songs with plenty of other artists and on his own — released his official solo debut, an EP called Love Makes the World. What’s most surprising about this five-song disc is that it sounds nothing at all like his work with INXS. Recorded in Nashville, Love Makes the World is basically an Americana record! But Farriss has always been adept at creating a distinct mood with his music, and Love Makes the World is no exception; it’s just a different mood on this case. While “First Man on Earth” doesn’t really fit with the rest of the EP — it’s more keyboard driven and at eight minutes, too long — songs like “My Brother” and “All the Stars Are Mine” are both catchy and heartfelt.
 
I spoke with Andrew Farriss not long after Love Makes the World’s release. Like everyone else, his plans for 2020 were changed because of the COVID-19 pandemic. But he’s hoping to release a full album next year. In the meantime, we had an interesting chat about everything from the new EP to his INXS salad days to Buddhism!
 
 
Dave Steinfeld (DS): I wanted to start with the EP. Tell me why you decided to take the solo plunge now.
 
Andrew Farriss (AF): Right. Well, the EP, which is Love Makes the World, was born by accident. Prior to that, in January 2020, I was actually releasing my Country & Western/Rock album, called Andrew Farriss. But the EP has been released just recently, on October 2, 2020.  And here we are. 
 
[awkward beat]
 
DS: Now is the Andrew Farriss album coming out as well?
 
AF: Yes. The Andrew Farriss LP… will be released, at the very latest, March 19, 2021.
 
DS: In the meantime, the Love Makes the World EP is quite different from the kind of music you made with INXS. And you recorded this EP in Nashville. 0Were you always a fan of Country and Americana, or has there been sort of a shift in musical evolution over the years?
 
AF: Well, first of all, as a songwriter — both with and for INXS — Michael Hutchence and I probably wrote 300 to 350 songs for that band. But since his passing, I’ve worked with many other people around the world. And I’ve always worked on my own, too. So, for me, this journey — some of it relates to the earlier work that I would have done.  My EP — Love Makes the World is the title of it — all five tracks of it are born from the pandemic. The COVID-19 that we’ve been experiencing.  I’ve realized as I went along that I needed to put some music out that was important, where there was hope. It may sound a little idealistic or whatever you wanna call it, but [the song] “Love Makes the World” makes the most sense to me of all. 
 
DS: Tell me about why you chose Love Makes the World to be the title [of the EP].
 
AF: Right. Well, first of all, my wife Marlene is from Dayton, Ohio. I’ve worked and lived in many countries in my life. With INXS, I worked in 52 countries. I have British family [and] I lived and worked out of Britain too — in London. But I live now back in Australia, which is my birth country. And I’ve sang all over the world and seen a lot of things. But I’m just really pleased and grateful that I have the family and friends that I have.
 
DS: I also wanted to ask you about the song “My Brother.”  I was curious to know if that was about Michael, whether it was about one of your actual brothers, or someone else. 
 
AF: A lot of people would think when they first hear the song [that] it’s about Michael Hutchence. But it’s not, actually. The song is about my co-writer, Jon Stevens. He lost a family member of his. Men are not generally good at talking about loss. We’re good at talking about repairing things from hardware stores. And, you know, sports and occasionally girls and other things. But we’re not very good at talking about when something happens in your life that’s so meaningful and devastating from the loss of a family member — especially a male figure in your life. So “My Brother” is talking about that.
 
DS: Okay. I didn’t know that but I appreciate it. One of my closest friends, about five years ago, lost his daughter very suddenly. Shortly after that, I lost my Mom. And our friendship has become much deeper in the last few years.
 
AF: I’m sorry to hear that.
 
DS: Yeah. It’s been tough for both of us. He’s been an inspiration to me, though. He’s a bit older than me and kind of an older brother figure maybe. We always got along but as you said, we would talk more about sports and music — stuff like that. We can still talk about that and we can still laugh. But since we’ve both dealt with loss, our friendship has taken on a much deeper dimension too. And I don’t take that for granted. 
 
AF: Can I ask you a question?
 
DS: Sure.
 
AF: Are you an atheist?
 
DS: (after a pause)  I am! I’ve never been asked that during an interview.
 
AF: Sorry, can I ask you another question? So what do you believe in?
 
DS: That’s a good question. The last few years, I’ve been exploring Buddhism. And I’m still exploring it. It resonates with me more than some of the traditional Western religions do. But having said that, I’m still a novice with Buddhism. You know, the people I’m studying with and talking to have been practicing it WAY longer than I have. But that’s the path I’m on at the moment. Have YOU explored Buddhism at all?
 
AF: Um… A little. In 1983, INXS went to shoot a video — two videos — in Japan. One was for a song called “Original Sin” and the other one was “I Send A Message.”  We went to the oldest Buddhist temple in existence.  And the Buddhist monks that were in the temple had been there, in succession, for a thousand years or more. When we got there — this was in the middle of Tokyo — we started shooting these two videos.  So, the head of the Buddhist monks came up to Michael, and he said, “It’s great to have you here”.  This man had a bald head and this beautiful sort of gold and purple robe. And I said, ‘Can I just ask why you let US in here, after a thousand years of isolation from Western influence? Why INXS, my band, why did you let us in here?’ What do you think he said?
 
DS: I have no idea! 
 
AF: No, come on. Give me an answer! I want an answer!
 
DS: I can’t imagine that this guy was a fan of ‘80s pop music…
 
AF: No, right! (he laughs)
 
DS: Just a wild guess… I’m gonna say there was something maybe in your personality or music that spoke to him?
 
AF: Correct! He pulled out a trumpet. He started to play trumpet and he said, ‘I like your music. And even though you’re the first group of — you know, whatever the Japanese word is for white Europeans, British, Australians or whatever —  that we embraced and asked to come into this temple. And we’re happy to have you here’. Can you imagine that? After a thousand years?
 
DS: That’s amazing. Take me back to the Australian music scene of the late ‘70s, that INXS came out of. I’m curious to know what kind of time and place that was.
 
AF: Yeah, interesting. Some Aussie bands would probably disagree with me but I think I’m right in saying this. The Aussie pub rock scene that so many bands, including INXS, were born out of was like nothing you’d ever seen. AC/DC came from that background. INXS came from that background. Midnight Oil, Cold Chisel, The Angels. There were so many bands that [came from] that era.  We weren’t controlled by US [and] UK pop trends. We weren’t controlled by fashions dictated by Europeans. We were just simply on our own roll here in Australia — and we were excited.  We were feeling invincible and that the music we were creating was unique. And you know what? It was. The music that we created and put out there to people — they were like, ‘What the Hell is this? This is not a British Invasion. This is not what we’ve seen from the U.S. before. This is not ABBA. This is a whole other thing’. I think the Australian music scene still is affecting the world, in a weird way. For such a small population, we really have a high concentration overseas.
 
DS: There was a band from that era, or maybe a couple of years before, and they only had one hit here in the States. But I love ‘em. They were another group of six guys from Australia. They were called The Sports. 
 
AF: I know the song, and the guys you’re talking about. Yeah, they’re great. 
 
DS: I wanted to ask you about an INXS song; I think it’s one you wrote by yourself. The song “This Time.” Any memories or inspirations of writing that?
 
AF: Sure. “This Time” was a song that I recorded with INXS round-about the Listen Like Thieves era, our 1985 release. The record was produced by Chris Thomas — great producer. He liked “This Time.” I wrote the song about love dynamics where, you know, you can argue with someone you love. But at the end of the day, you have to stop arguing and just recognize that you love the person. That’s what the song is all about.
 
DS: To bring it full circle — and I know everything is subject to change — but right now, what do you have on the agenda for the first part of next year?
 
AF: Yeah, I’ve been thinking about that a lot. First of all, the Australian government won’t let us leave Australia until they’re comfortable the pandemic’s finished.  So, I can’t go anywhere (laughs). Back in March, Marlene and myself — ‘cause we have American family and friends and commitments and business interests — we were gonna head to America. But we decided to stay in Australia for a variety of reasons.  So, I don’t know exactly how to answer that question, ‘cause [our] planning changes all the time based on government restrictions or openings or whatever they’re gonna do. The planning of anything is a nightmare, you know?
 
DS: Yeah, I get it. Andrew, is there anything else you want me to cover for this piece that I haven’t asked you about?
 
AF: Well, probably. I just can’t remember what it is. [laughs nervously] Thank you for talking to me. My name is Andrew Farriss. I’m a songwriter. And I really appreciate everyone listening to me or hopefully listening to my music. My EP has five tracks on it, which are “Tears in the Rain,” “My Brother,” “Love Makes the World,” “All the Stars Are Mine” and “First Man on Earth.” And thank you for listening to my EP. I really appreciate it. 
 
Listen and buy the music of Andrew Farriss from AMAZON
 
For more information head on over to the Andrew Farriss website
 

​Larkin Poe (from the album Kindred Spirits available on Tricki-Woo Records) (by Chris Wheatley) 
 
How quickly time passes. Half a year has flown by since I had the pleasure of reviewing Grammy-nominated sister-act Rebecca and Megan Lovell's (recording as Larkin Poe) fifth album, Self Made Man. Back then, to quote myself, I stated: ‘Rebecca and Megan share a singular vision and utilize every talent which they possess in bringing that vision to life’. Born in Atlanta and raised in Nashville, Rebecca and Megan's early musical grounding lay in the classical arena before, in their late teens, they turned to Bluegrass. Further re-inventions occurred and they settled on their now-signature sound of visceral, Roots Rock. Kindred Spirits, out on the sisters' own Tricki-Wood records, is their sixth album to date. Intriguingly, this is a collection of eleven covers which celebrate their loves and influences.
 
Cover versions are a tricky thing to get right. Personally, I love hearing new interpretations of classic songs, however the emphasis, to my mind, should always lie with the phrase new interpretations, at least on recordings by artists of this standard. Here, Larkin Poe (the name is an amalgam of the monikers of the sisters' ancestors, including one Edgar Allen) have selected an eclectic mix with more than a few surprises. The set begins with high ambition; a take on Robert Johnson's immortal “Hellhound on My Trail”. A few seconds' listen is enough to dispel any concerns; Larkin Poe are indeed too good simply to rehash a song. Surprisingly, a few seconds are all we get, before launching into Lenny Kravitz's “Fly Away”, here transformed into a slower-tempo, slide-guitar driven acoustic number. To my ears, this dusty, dirty rendition improves upon the original.
 
The sisters' take on Neil Young's “Rockin' In The Free World” feels fresh and authentic, as full of pathos as Young's version, but stamped with Larkin Poe's affecting vocals, lilting compositions, and a musical spirit which seems anchored way up high in the misty, new-ancient mountains of America, in a place which perhaps never truly existed, but lingers in the soul and the heart. Giant/Baum/Kaye composition, made famous by Elvis Presley, “You're the Devil in Disguise”, is revelatory, a slow-burning, eerie meditation which veers from stomping menace to sweetly soaring, all under a mysterious, blue-red broiling sky. Perhaps the most unexpected track, Phil Collin's “In the Air Tonight”, is presented as a razor-sharp spiritual Blues. It works incredibly well. 
 
The Moody Blues' “Nights in White Satin” simmers nicely, striking deep into one's chest, full of longing, somehow both softer and harder than the original. Even for a Moody's fan such as I, this is superlative. Bo Diddley's “Who Do You Love” rattles with that famous rhythm/riff, skeletal and celebratory. Diddley would have been proud. Post Malone's “Take What You Want” is the most contemporary track, and the sisters' handle it with aplomb, twisting the original into a hard-bitten, road-bustin' journey. 
 
“Ramblin' Man” by the Allman Brothers sparkles and bounces along the bayou, marrying the more stripped-back efforts of Led Zeppelin to ringing, joyous Country-inflected vibes. Derek & The Domino's “Bell Bottom Blues” is sweet and simple, showcasing the sisters' praise-worthy guitar skills, with highly effective, sweeping vocals. Elton John's “Crocodile Rock” closes the set with a mid-tempo, laid-back feel. It is a measure of Larkin Poe's skill that they manage to paint an entirely new canvas from the originals' colours. Replete with slide-guitar and guileless sing-a-long chorus, Larkin Poe effortlessly side-step the twee or the naïve.  (by Chris Wheatley)
 
Listen and buy the music of Larkin Poe on AMAZON
 
For more information head on over to the Larkin Poe website
 
 

​Dirk Powell (from the album “When I Wait for You” available on ) 
 
Interview and review by Joe Burcaw
 
Whenever I am given the task of reviewing or interviewing a musician ensconced in the Celtic tradition my eyes automatically light up! Dirk Powell, a highly achieved and legendary songwriter, fiddler, and sideman of the Folk/Roots music scene has delivered an album deserving of praise and kudos for its fresh perspective. When I Wait for You is one of those records that commands the listener to sit back and enjoy the listening experience in its entirety from start to finish. Think Norah Jones’ album Come Away with Me or Tom Petty’s Wildflowers as reference points. Dirk Powell has created a body of work that resonates deeply on a cerebral level weaving traditional nuances into a contemporary feel. He feels ‘my hope is that the phrase ‘When I Wait for You’ feels personal to whoever listens to the record, that this is the music I write and create in those moments, and wish for the listener to feel that phrase addressing them personally’. That statement is a spot-on account of how I felt while road-testing all thirteen songs, which unfortunately rarely happens to me anymore. I was taken on a journey addressing love, relationship dynamics, and the age of innocence that over time still lurks within our hearts.   
 
The lead single, “Olivia”, has an incredibly catchy hook that stays engraved in your head for days, leaving you wanting the song to never come to an end. Another standout track is the traditional “Silk Merchant’s Daughter”, fusing the eerie tones of whistles and flutes with the somberness of a foreboding fiddle. A sailor is faced with the decision to either let his love perish with a sinking ship or spare her by allowing usage of a tiny life-boat, fortunately the tale takes a turn for the better ending with both of them being saved and married off into the sunset. Sara Watkins of Nickel Creek fame has a guest vocal appearance on the ballad “The Little Things”. A perfect choice for co-sing; romanticized lyrics dealing with couples not letting the little things in relationships die, but cherishing them as they will eventually shape our lives in the end. Beautifully crafted words that makes one appreciate having a partner who can affect us so profoundly, straight to the core.
 
My conversation with Dirk led me to delve deep into the YouTube rabbit hole to check out his studio work and live performances from the past with the likes of Eric Clapton, Joan Baez, and Rhiannon Giddens just to name a few. We had a great chat and I learned a lot about what exactly goes into his craftsmanship, and his desire to meld Cajun and Celtic music using musicians from all walks of life to assist in the process. 
 
 
 
 
Joe: Hey Dirk, how are you? 
 
Dirk: I’m good man, how are you doing? 
 
Joe: Doing well, glad we're able to connect this time around since we missed each other last Friday. 
 
Dirk: Yeah, it's been a bit of a crazy time down here.
 
Joe: Did you get hit with a storm?
 
Dirk:  Yes, the last one kind of went towards New Orleans so it wasn't too bad here. The one before that was a direct hit. But you know, given all that we've been through we’re still pretty lucky here in Lafayette. It's been a while since we had a real bad run. There are trees down all over the place, but most of the buildings are luckily intact.
 
Joe: Good! Up here in Hartford, Connecticut we received a few inches of snow which has now all melted away. So, here we are. Thank you again for taking the time to speak with me. I have to tell you, my wife and I absolutely love When I Wait For You. We’ve been listening to it for the past few weeks, and it's a record that we put on at night because it puts us into this state of solace, it does something to you chemically where it just puts you at ease and calms the soul. It kind of reminds me of Neil Young's Harvest Moon, it embodies this atmosphere of cohesion from start to finish. In your press release you state, and I quote: ‘my hope is that the phrase when I wait for you feels personal to whoever listens to the record-that this is the music I write and create in those moments, I want the listener to feel that phrase addresses them personally’. Can you expound on that statement?
 
Dirk: Yes, what you just described is exactly what I was hoping to convey, kind of that night energy when things get intimate and the way music gets made during that time. Not so much in the sense that you're longing for someone (which you may very well be) but even if you’re in acceptance of that feeling, it’s kind of a positive thing in itself. So much creativity flows in those moments and that's what I was trying to achieve. In a way it was that mood that you just described, which is something that feels welcoming by exploring all these aspects of love from an intimate place. It's all gonna be okay, so for you to describe what you just did, 
especially being with your wife together really means a lot to me. There's so much of that energy that doesn't necessarily have to be male or female. In my case, it’s energy and that sense of warmth set in the interior of a home at night. The way those things feel is what I was trying to capture.
 
Joe: Yes, and you also create imagery, I love how music is able to make the listener create that. I wanted to ask, when you were first demoing and starting out the writing process for this particular album, did you have the intention of making it a specific mood from start to finish?  Or, did you say to yourself let's just see where the songs take me and see what happens? Did you have a general idea of where you wanted to go stylistically?
 
Dirk: Well, both of those things interestingly enough. As a creative person you mainly hope to get out of the way of something if it has its own energy, it may have its own desire to fulfill itself. I think with this one it didn't necessarily start out with exactly that vision, but once that came into focus it became clear that the rest of the process was going to be building and maintaining that, and allowing it to reach that place. So, it had something different in the beginning, there were more instrumental tunes combining Celtic players with Louisiana elements but as it really started to assert itself, the title’s theme evolved.
 
Joe: Tell me about the Celtic influence, I know you brought over some players from Scotland and Ireland, is that correct? How did that all come together, adding this Celtic flavor to the soundtrack you were trying to create?
 
Dirk: Well, I've known those guys (Mike McGoldrick & James Mackintosh) for quite a while. In the transatlantic sessions, a project that's been going on 20 years now, is an attempt to kind of reunite players from either side of the Atlantic because they're not very distant cousins in a lot of ways. Some of the musical things, especially Appalachian music (which is where my roots are), and in Celtic music the threads are very similar. Those guys are just old friends and they're such deep players, the thing I love most about them regardless of their style or genre is their service to the music at all times. Even when that means stepping forward and doing something extra knowing when that is and still servicing the song. Some people like to be in the spotlight, and probably everybody on this 
record is willing to be in the spotlight if that's where they’re at bringing it through their performances. It's also fine to not be in the spotlight if that's what everybody is feeling. Desiring a common goal, that is exactly what those guys bring to the table.
 
Joe: I am sure there are moments of brilliance where you're thinking someone was going to take a piece one way but it went completely opposite of your expectation due to improvisation. Are you more of an improvisational player or do you chart out everything for your musicians when they come in to record?
 
Dirk: Actually, for most of the stuff I've done it kind of just opens itself to the flow of improvisation. I find that if you let people feel what they're feeling and embrace that and encourage that, you may not get the results you thought you were going to get but something better. This will lead to a different place allowing things to blossom differently. I'm not producing opera records that are some kind of project where it's like, okay it needs to go to this preconceived vision 100% without veering away from the vision.
 
Joe: It's definitely no easy feat being a producer and trying to get everybody charged up and all on the same page. You’re dealing with a lot of different personalities and it's sometimes like pulling teeth to get people to resonate with each other. Let’s discuss your latest single “Olivia”, what a catchy hook to the chorus. I was saying this to my wife the other day, the melody stays in your head for days.
 
 
Dirk: That’s great, and exactly what I was hoping to hear. 
 
Joe: It's such a great tune, my favorite off the record. I found it very interesting because when watching the video compared to the lyrics, you’re led to believe the main focus is on kids, but in actuality it’s not, correct?
 
Dirk: Yes, you're correct. The video was just an idea for us to make something with our neighbors and use the kids to explore the vision, that’s just one element of what forms the song. But yeah, the real aspect of the song is a love relationship. It was inspired by seeing Polaroid photos of Olivia from the early 70’s. Those shots have a certain quality when seeing photos of her during childhood, and seeing how she’s still that person as a grown adult. I see 
all of those things yet still want her. That was the real part of it for me, testing to see the love is still there. Children know that time isn't real and that time is just a construct. They know we just invented it and sometimes adults forget that. 
 
Joe: The video shows an age of innocence with them frolicking around in the yard and in the field. 
 
Dirk: Yes, absolutely.
 
Joe: Was that your idea conceptually for the video or did somebody come in with an idea or storyboard, how did that all pan out?
 
Dirk: Well, that was kind of my idea mainly. If it had been a major video with a big budget, we would have developed it more within the video and carried it through, but it was more of me capturing some of the elements of the song in that childhood joy. The beginning of the song almost in a way doesn't necessarily go to the fullest of places, but some of those elements are in there like the timelessness of a sunrise and sunset. It says that in the bridge, ‘time will pass but time will never tell’, so in the end you will never get an answer.
 
Joe: As far as the songwriting is concerned for “Olivia”, how did it all begin? Did you have the lyrics and some chords, how did you put everything together for this particular song?
 
Dirk: It didn’t take too long for this one, I guess it was back in 2018 for the initial beginning of the writing process. Then we recorded it in 2019, I just kind of picked up a guitar, it was really interesting because sometimes lyrics will come first, and other times melodies will come first. The guitar line came first and it was something that just flowed right in and then the word Olivia kind of sat right on top of those notes.
 
Joe: Isn't it amazing as a writer how you get these bursts of creativity that come out of the ether? I know for me, during the witching hours between 1AM and 4AM I will get these melodic ideas that will pop inside of my head. I’ll have to go downstairs and grab my iPad and record into quick voice or any other recording gear I have lying around at that moment in time. It’s like a message is being sent down from the musical gods, I know that sounds bizarre.
 
Dirk: I don't think it’s bizarre. I mean, that's why the Muses are called the Muses because they speak music and they give you those gifts. I really think if you open those channels, they will flow things into them. I think that time of night is exactly what my record is about, or when I would have written several of those songs when the Muses were ready to bring their gifts.
 
Joe: It’s very intriguing how the creative process works for each individual.
 
Dirk: Yeah, it sure is!
 
Joe: Let’s move forward and discuss the song “The Silk Merchant’s Daughter”. I know that's a traditional arrangement that you enhanced with your own little twist. Where did the arrangement come from? 
 
Dirk: That’s from The Hammonds family of West Virginia. Of course, it probably 
goes back to Ireland, England or Scotland, I don't know exactly but it most likely goes back to those roots. The story always moves me when the captain says, ‘you know how to hold onto humanity, but there are very few people who would die for a friend’, that just touches me so deeply. The fact that this young sailor is going to give his life for the woman he loves even though she didn't know that until right then. He says, ‘before I would kill you my heart it would burst, before I would kill you my love I’d die first’. That always touches me so much to think of the empathy bringing out the best in human beings willing to sacrifice love for each other. In this day and age in there's such a lack of empathy, and so many people need to be reminded of that level of love and compassion. 
 
Joe: It’s almost as though the human condition has been suppressed for the last 50 years. I definitely get what you're saying for sure. Words can truly touch you on a deep cerebral level. Have you been able to road test any of the new songs pre-COVID?
 
Dirk: Just a little bit, right before COVID I played a couple concerts in Glasgow with the Folk Alliance, and performed some of the newer material, but not as much as I would have liked to.
 
Joe: It's such a shame, we've got to get everybody out on the road sooner than later, that’s for sure! When you were tracking “The Silk Merchant’s Daughter”, was everybody in the same room or did you have to overdub parts? How did that process work?
 
Dirk: That was a lot of over dubbing. We did the bass, drums and guitar live but the vocals were then built up from there and layered on top. 
 
Joe: Was it difficult recording this track, or was it an easy process? 
 
Dirk: It was interesting because something I wanted to do which I hadn't really done much of was having different characters come in and speak their parts, so when the sailor is talking there's English voices in there, and when the damsel is talking (who was my daughter Amelia) her voice then takes focus. I am narrating floating in and out while people recite their character lines. Yeah, so that was kind of a different thing that was a bit more involved, but it was really satisfying in the end to have those characters be a part of it.
 
Joe: What was it like working with your daughter? Was that the first time you've ever had her in a studio with you, or have you done this before?
 
Dirk: No, we used both my daughters Amelia and Sophie on a lot of background parts on the record, like on “Olivia” and “Bright Light of Day”. They’ve actually kind of grown up in the studio so it's really cool to see them at a point now where they're just doing these great things that I love as parts. It's not a matter of, oh I'm gonna get my daughter's on this, it's a matter of oh they're gonna bring the most they can to the project.
 
Joe: Do they have a penchant for music, or is that kind of hard to foresee at this point?
 
Dirk: Well, Amelia who is my eldest is at Loyola in New Orleans studying music. Sophie, she's 16 and loves it too, she just started writing songs. I don't know, it’s hard to say exactly where it'll all go for them, but it'll always be a part of their lives. 
 
Joe: I love to hear that. I have an eight-month-old and I'm trying to influence her by playing all sorts of music in and around the house. 
 
Dirk: That’s wonderful man, congratulations!
 
Joe: Thanks so much, we’re very proud parents right now. Anyway, tell me about the song “The Bright Light of Day”. I know I'm stating the obvious when I say this, but were you purposely trying to conjure the spirit of Levon Helm from The Band, because I felt as though I was listening to a leftover track from "The Last Waltz”.
 
Dirk: Definitely, kind of a mix of The Band’s music with the bridge being brutally 
obvious. It’s definitely a tribute to that kind of stuff with Levon specifically. In the song, my character is basically saying, ‘well, I thought I needed to leave home to the big city and now I'm realizing I need to go back and mend these bridges that I burned’. You know deep down that you can't really leave this place, you learned how to love, you learned what love is like, and maybe that love always stays with you. So, I definitely had that sense too, the feel of The Band. I was lucky enough to play with Levon a few times and that always stuck with me.
 
Joe: His place up in Woodstock New York is magical, if the walls could only speak…….
 
Dirk: Ohh yeah for sure, it's just a brilliant place.
 
Joe: Regarding the rhythmic feel of the drums, I love drumming that is behind the beat echoing that swampy laidback feel. Was that intentional and did you say to the drummer to accent the off beats, what were you kind envisioning when you were dictating to the rhythm section?
 
Dirk: Well, Jamie (the drummer on that track) knew instinctively what to play. He knew what I wanted and where the accents should sit. The whole feel for it was that exact placement on the offbeat of the back end, it’s just a language of knowing how to let it feel that way. So yeah, there would have been some drummers I didn't know well, and they would have needed some direction, but Jamie knew instantly where to going. That's the one thing I feel like I 
learned the most from playing with Levon, you know how far back you can place that sexy pocket, all the way back there, man.
 
Joe: I think a lot of people don't realize that you can have deep rooted pockets without playing on top of the beat. You hear a lot of the Motown stuff and it's way on top of the beat with James Jamerson leading the pack. There is a misconception that playing behind is going to be messy and chaotic, which is further from the truth. It's a matter of having the awareness to play that type of music which calls for a bit of restraint.
 
Dirk: Absolutely! I had a really cool experience recording with Levon in the barn where I tracked a song with electric guitar, then I overdubbed bass. We just didn't have many people available so I was like, okay I'm gonna just be me and add some bass. When I was tracking, I was mainly emphasizing the offbeats. I could feel it a little bit behind, like it followed him to that perfect spot. Then when I went to overdub the bass, the bass drum was a little bit up on the front and I was thinking this is amazing. The tension and release on his own playing just 
within himself, the downbeat a little up on the front end and then he threw a little bit back. I would have never learned that if I hadn't literally played the guitar and then overdubbed the bass. I feel so lucky to have had that opportunity. The fact that I was able to feel that made me thankful to have been given the chance to seal it in exactly that way.
 
Joe: Were you weaving in and out of the kick drum pattern? As a result, how were you approaching the bass line that you ended up recording?
 
Dirk: I was just laying it down with the kick, and just staying on it, but then following the offbeat which felt so good. It was really interesting, man, it was just self-contained yet the groove was spot on. Those elements were a little bit of the formula. You could have taken away every other instrument and it would have still felt so good. It didn't need anything else, it was its own thing. It wasn't just like, okay here's a four/four beat or something, It just swung. It was really cool, he was well known for that.
 
Joe:  It's eye opening when you can isolate a track and really dissect what the player is doing. It can end up sounding much more complicated than originally thought of when buried within the mix.
 
Dirk: Yeah, but it's all just feel. This is Levon’s feel and how he interprets it when performing. Again, it’s that tension and release relationship, a band that feels really good will play that way instinctively. So that was a really cool thing to learn and very helpful.
 
Joe: Was this a solo record or another project?
 
Dirk: That was a Martha Scanlan record, it came out back in 2008.
 
Joe: I'm sure you must have been pinching yourself the whole time you were tracking?
 
Dirk: Yeah, it really was amazing, and I felt so lucky!
 
Joe: I wanted to also talk to you about being a sideman as well as a bandleader, producer, and engineer. How do you juggle wearing so many different hats, and do you like to encompass everything together or is there one facet you prefer more than the other?
 
Dirk: It's kind of been like that and has worked well because they all 
complement each other. The live energy is so rewarding in an instant way, you do it and let it go, it’s so spontaneous. Then the studio deals with finely crafting stuff really getting it all the way in when trying to push things a certain way. You know, going as far as you can with something, they all kind of inform each other and of course that balance is really something I thrived on. With all of the live stuff gone this year it's been a little more studio focused, which is cool. I’m kind -of enjoying the chance to just really be in there and work on shaping things. 
 
Joe: Do you feel as an engineer that you're at a point where you feel good about editing and running your signal flow sufficiently, or do you feel as though you still have a little more homework to figure out in the shed? How would you rate yourself as an engineer at this point in the game?
 
Dirk: I'm feeling good about it, I feel like I have my gear where I want it. The microphones, preamps and all are pretty crucial in getting certain things. It's kind of like one of those things where maybe you can get close with some things, but certain sounds that you want to get are hard to recreate without the right equipment. So, I feel like I'm able to get what I want. I've been doing it long enough to know how to properly place my microphones in ways that I feel good about. Mixing has been something that always intrigues me because you know 
there are many ways to do it as there are people trying to do it. I guess I feel like I could always learn more about the mixing process.
 
Joe: Mixing is an art upon itself.
 
Dirk: For sure! Hopefully you would never think you've learned everything there is to know, because you haven’t. I'm sure the greatest mix engineers believe they still have more to learn. How could you not since it’s such an ever-changing part of making music? Any new recording information that I get would just go into mastering the mix. So, all information is welcome.
 
Joe: Are you running both analog and digital?
 
Dirk: I use Pro Tools and then coming out mixing analog and then going back in digitally. I have some tape options but you know, the problem is these days (at least down here) keeping those kinds of machines maintained is challenging. If I were in Nashville, I could probably do more tape sessions if I knew the machines would be repaired properly, but that isn’t the case where I am unfortunately.
 
Joe: Hey, thank goodness we're not working on those VCR DAT machines. We used to have to daisy chain all of the tapes together in order to hear the mixes. 
 
Dirk: Ohh my god, that was a nite-mare!
 
Joe: Very much so, and I am glad those days are far behind us! Back to your record. I wish to discuss one of the ballads, “The Little Things” with Sara Watkins from Nickel Creek. Have you performed with her in the past through your collective?
 
Dirk: Yeah, I met Sara and her brother Sean when they were probably teenagers. I haven't really done that much with them over the years, but our paths have crossed on various things. Sara was part of transatlantic sessions one year when I was doing it, and we've just been part of a circle where I've known them long enough to say, look I'd really love to have you do this, and I think you're perfect for it. As it turned out she really was perfect for that song. I just knew her voice and her playing would be the right thing. So that was really cool.
 
Joe: Yes, her fiddle playing is amazing on top of the strong vocals. Speaking of 
vocals and lyrics, did you have everything laid out and then have her sing the lines you wanted a woman's voice on? Or, did she add a little bit of her lyricism to it as well?
 
Dirk: She didn't add any lyrical content, but she interpreted the words herself 
singing it in her own way. You know, that was a song that was important to me 
too. I realized a lot talking about love relationships, and some of the other themes on the record. It’s the little things that you could never explain to somebody that your loved one does that makes you so crazy about them. I remember something that actually happened to me with somebody I'm not with anymore. We were playing croquet and she decided to not take her time with each game and just play in a speedy way on her own accord. She decided to hit the ball really fast one right after the other and it was a completely odd thing to do looking back on 
it. But it made me love her so much, and I could never tell you why in a million years I felt this way. By doing that I was like, ‘I'm so in love with you but why in the world did you do that?’ But oh my god she blew me away.
 
Joe: You know I love the way you swing that mallet baby!
 
Dirk: Haha… exactly, that's it. If somebody else could see that they would think what is happening here, and that aspect really made you fall in love with her? I wanted to write that song from a place of literally loving the way you drive, and loving the way you hold the steering wheel which makes me love you even more.
 
Joe: Serious question now pertaining to love songs in particular. I know this is 
going to sound a little ‘off the cuff’ but does it seem strange when you're singing a ballad with a woman that you're not romantically linked to? Are you looking at her and thinking of your partner simultaneously? I never understood how love songs work when a man and woman look into each other’s eyes sharing deep and personal words with each other. What is the process and what goes through your mind?
 
Dirk: I think it may be similar to actors who have to play the part. There is 
 
a way to acknowledge that level of feeling within yourself and how you feel that emotion for someone even though it's not directed towards them. You have to recognize in them the potentiality of conveying love. It's almost like you honoring that in them and see that and go, ‘oh yeah, I feel that even though it's not directed towards me’. You both remember the feeling even if you’re not the objects of love to each other. I felt that with people, we're both feeling this and that's great. It doesn't have to be us forgetting about our partners.
 
Joe: I always go back to my childhood for popular love songs and think of "Islands in the Stream” with Dolly Parton and Kenny Rogers singing like they’re totally in love with each other. As you recently mentioned, they were acting and did a great job acting the part.
 
Dirk: Yes, but I think it's not so much acting but more of recognizing the lover and knowing that it’s so real and so legitimate even if it's not towards me, but I see those qualities in you and I am responding toit. So, I think there are elements there and you can embody that habitat even if that person isn't your lover.
 
Joe: Yes, it’s a very interesting approach to singing in this style. How did you track vocals with Sara, were you both in the studio together?
 
Dirk: No, she recorded her parts remotely?
 
Joe: Is that due to our friend Mr. COVID? 
 
Dirk: Yes, that is exactly why.
 
Joe: Are you planning on releasing another single off of the album or is “Olivia" the only song getting rotation for the time being?
 
Dirk: I'm not really sure. “Say Old Playmate” is a song that I might make a video for with Rhiannon (Giddens) because the song is about people of different races. It's about my dad when he was young being told he couldn't be friends with his best friend because he was African American, that is the general theme.
 
Joe: That surely speaks of the times we're living in now. I know you have produced a few of her records in the past, right?
 
Dirk: Yeah yeah, we're good friends and collaborators, I'm really grateful having her in my life.
 
Joe: I came across a really great video on YouTube that you were part of, Rhiannon and an ensemble of musicians were singing Tom Petty’s “I Won’t Back Down”. 
 
Dirk: Oh man, that was great fun and a great performance! It was cool paying tribute to him after his passing.
 
Joe: Looking ahead, what are your plans now that everybody's hunkering down at home? Are you looking to do some livestreaming, and what’s it looking like for touring next year?
 
Dirk: Well, I've done a little bit of livestreaming and I'm sure I'll do some more. But it's kind of over saturated right now. Every single gig I had booked for this year has been canceled, so I have no idea what’s in store.
 
Joe: It's a very scary situation because I not only worry about my musician friends, I worry about all of the music venues closing at a high rate.
 
Dirk: I know, one of the main places we’ve played at here in Lafayette just closed. I now drive past for sale signs out front, it’s very sad.
 
Joe: Fingers crossed things take a turn for the better once 2021 kicks into gear. Before we depart, where can the people hear you, and give us a little rundown of where to find you online?
 
Dirk: Of course, my website and people can track me down on all of the social media platforms.
 
Joe: Thank you so much for your time, and thank you for creating such a wonderful body of work. I look forward to you getting back out on the road, and when you come to the northeast let’s meet up for a pint.
 
Dirk: Man, that sounds great I'd love to meet up! Good luck with everything and best of luck with your young daughter, that's a magical time, trust me.
 
Joe: Thanks man, blessings to you and your family. 
 
 
Listen and buy the music of Dirk Powell from AMAZON
 
For more information head on over to the Dirk Powell website
 

​Alastair Greene (from the album The New World Blues available on Whiskey Bayou Records)
Blues muses were alongside Alastair Greene when the west coast musician was putting together tracks for his recent release, The New World Blues. Produced by Whiskey Bayou Records label head Tab Benoit at his Houma, Louisiana studio, The New World Blues is album for the times. Alastair Greene nods to the spirits that moved him, stating ‘I’m not a prophet by any stretch of the imagination, but this record is even more relevant now than when I wrote it in 2019’. Division and separation are the topics for “Wontcha Tell Me” while financial woes are mirrored in “Back in the Poorhouse” as the instrumental spits and snarls its opinion. 
The New World Blues opens its doors with first cut “Living Today” setting the stage for tales of planet earth 2020 while the title track closes the album with blistering guitar riffs matching the lyrical angst. Forming the Alastair Greene Band in 1997, the guitar man has balanced his own releases with stints as a member of Alan Parson Project, Starship featuring Mickey Thomas, and, recently, backing Sugaray Rayford. The New World Blues draws a line in the sand, Alastair Greene takes a stab at big money with both his words and guitar notes for “No Longer Amused” and finds “Heroes” in memories of mentors as The New World Blues finds a smile taking a stroll along “Bayou Smile”.
Listen and buy the music of Alastair Greene from AMAZON
 
For more information head over to the Alastair Greene website
 

​Martin Simpson (from the album Home Recordings available on Topic Records) (by Chris Wheatley) 
 
As has been well-publicized, the Covid-19 pandemic has hit various creative industries hard, putting an end to live performances through which most musicians earn their living. The gain, for we fans, lies in the amount of home-recorded offerings which have appeared. Lately, we've had a slew of terrific albums which rely on skill and invention over post-production and studio-wizardry. These albums, moreover, are often laced with a poignancy and pathos which lend an enduring, meaningful quality to the results. Latest to throw his hat into the ring is celebrated English folk singer/songwriter and guitarist Martin Simpson. 
 
Twice winner of the prestigious BBC Folk Awards, Martin Simpson's back-catalogue is distinguished and highly praised, including such diverse offerings as a fascinating collaboration with Chinese pipa (four-stringed lute) player Wu Man and explorations of the music of the American deep south. This latest release, simply titled Home Recordings, out now via Topic Records, is a generous collection of fourteen tracks, a mix of Simpson originals and covers which showcase his enviable skills at finger-style and slide guitar.
 
The album opens with Lyle Lovett's “Family Reserve”. Simpson's acoustic guitar-playing is faultless. There's nothing flashy here, but he makes the difficult seem easy. The strings sing and dance, graceful in their efficiency. Simpson's voice is smooth with a slightly gruff edge, a curious mix of English Folk and Americana, which is affecting and compelling. Some subtle harmonized backing vocals add a nice touch of colour. When it comes to expressive singing and playing, there aren't many who can match Martin Simpson.
 
For “Lonesome Valley Geese” Simpson switches to banjo, offering up a short, beguiling and shimmering meditation. A lovely moment comes as we actually hear geese flying over Simpson's Peak-District home with the musician himself expressing his delight. The sadly-missed John Prine's “Angel from Montgomery” simply sparkles. The more you absorb yourself in Martin Simpson's playing, the more wondrous it becomes. This is music which amply rewards repeated listens.
 
Simpson's lilting take on Dylan's “The Times They Are A Changin'” more than does justice to the original, with embellished runs and arpeggios; a luminescent cloud of ringing notes through which Simpson's voice calls like the hidden sun. The Martin Simpson original, “Plains of Waterloo”, reveals that Simpson is also masterful on slide guitar. Long-cherished by Blues players thanks to its ability to 'moan' and 'sing' like a human voice, in Simpson's hands the instrument conjures incredible width and depth, with elements of Blues, Eastern modes and something altogether new. The sound soars majestically and swoops in breathtaking wonder.
 
It's back to banjo for “Augmented Unison,” another Simpson original. This is traditional English Folk with the rolling gait of a sea-shanty. I have never heard a musician play banjo in the manner which Simpson does. In his hands, the strings flow and tingle like a harp, almost unbearably fragile and sweet. Album closer “March 22nd” treats us to another brief snippet of back-porch magic, as Simpson serenades the birds with a sparkling river of notes.
 
Before I conclude this review, let's take a moment to reflect on how fortunate we are to be here and well, reading and listening, when not everyone has pulled through. Fortunate we are, indeed, to be treated to the soulful, spiritual wizardry of Martin Simpson at his best. He remains an enormous talent, rendered ever more likeable thanks to his evident humanity and humble love of his craft. (by Chris Wheatley)
 
Listen and buy the music of Martin Simpson from AMAZON
 
For more information head on over to the Martin Simpson website
 
 
 
 

​Mipso (from the album Mipso available on Rounder Records) (by Bryant Liggett)
The latest from North Carolina’s Mipso is faint, gentle and delicate. Pleasing, tender, or calm are words that cannot be overused in describing their recent self-titled release. Mipso captures the melody and the harmonies of a lazy, sunny California hippie Pop record that comes from, and with a whisper of, Appalachia. The fiddle in album opener “Never Knew You Were Gone” takes a seat in your head with no intention of leaving while “Hourglass” has an Indie Folk chug and a mysterious undertone. “Caroline” finds the instruments quietly plucked as if played in danger of waking the baby once those instruments have lulled the infant to sleep. “Just Want to Be Loved” is a hurting ballad, Mipso turning a Blues cut inside out, building the arrangement around a dripping guitar solo. 
The picnic tale “Big Star” begins with electro blips and bloops before ‘some candy from Colorado’ recasts the picnic as a psychedelic, meandering dream. “Let A Little Light In” is a heap of harmonies over an animated, playful melody and “Wallpaper Baby” has a Country fiddle that nods to the roots music of North Carolina without relying on twang. Mipso is easy on the ear, soft to the feel; a record to spin circles, swaying barefoot in your kitchen with or without a partner.
(by Bryant Liggett)
 
Listen and buy the music of Mipso from AMAZON
 
For more information head over to the Mipso website
 
 

​Tom Petty (from the box set Wildflowers & All the Rest available on Warner Records) (by Joe Burcaw)
 
On November 1st, 1994 Tom Petty graced the world with a body of work that has over time become legendary, timeless and still fresh decades later. Wildflowers was a successful attempt to write from deep within the soul, allowing for vulnerability and pain to prevail throughout the creative process. Before this record Tom Petty had been in ‘the hits years’, pumping out Jeff Lynne-produced masterpieces for good ol’ MTV to place into heavy rotation when music (not The Real World) was still a priority. It was time for change and new blood was necessary in order to fulfill Petty’s stripped-down approach. Who better to take on that role than Mr. Stripped-down-rock-n-roller himself, Rick Rubin. Rubin, well known for his minimalist style of recording, was the perfect choice and proved worthy of Tom Petty’s trust. Wildflowers went on to sell millions, and went top 10 on the Billboard Hot 100 charts. The album was originally intended to include 25 songs but the Warner Brothers label heads wanted a single album, not a double disc. This meant having to shelve ten songs that have not seen the light of day… until now. 
 
Although Tom Petty was in agreement with the label plans, he always intended on eventually releasing the remaining other half of Wildflowers for the fans to hear. There was even talk of doing a full tour of the complete album in sequential order, one through 25, the way Tom would have heard things. Unfortunately, we lost Tom Petty in October of 2017, leaving his vision to fade into mist. I cannot stress enough how incredible the listening experience will be when hearing these lost tracks that were left to collect dust in the vaults. Not only that, the four-disc box set of Wildflowers & All the Rest includes home demos and live versions of the Wildflowers catalog from 1995 up until 2017, just a few months before his passing. Highlight tracks that come to mind are “California”, “Leave Virginia Alone”, and the home recording of “You Don’t Know How It Feels”, a prime example of how a strong melody can sound just as catchy with just an acoustic guitar and harmonica. The sound is one of pure genius! Tom Petty’s daughter Adria was pivotal in making sure her father’s request to release this material was carried out. She did a wonderful job with the packaging and overall layout of the box set. For all of you ‘Heartbreakers’ geeks, original drummer Stan Lynch makes an appearance on the song “Something Could Happen”, one of his last recordings before departing the band in the fall of 1994. His replacement (Steve Ferrone) ended up playing with the band longer than Lynch. Go purchase this release and feel the essence of true craftsmanship that no longer exists in modern music. Tom Petty was a one-of-a-kind pioneer who always pushed the envelope in his songwriting, and who knew how to tell a story with words that will cut through you to the core. This will make a great holiday gift as December closes in on us, I promise you it will not let you down. (by Joe Burcaw)
 
Listen and buy the music of Tom Petty from AMAZON
 
For more information head on over to the Tom Petty website
 

​William Elliott Whitmore (from the album I’m with You available on Bloodshot Records) (by Bryant Liggett)
Brooding and bold but with a chunk of charm, William Elliott Whitmore is the Folk dude for your Hard Rock pals. With a pre-war tone, Whitmore’s timeless sound makes it seem he could have ridden rail cars next to Woody Guthrie. I’m With You is his eighth full-length, a raw record from a Punk-Folkie with a story-tellers way, doling out life lessons and vivid tales like a wise old man. 
Twangy banjo and sad fiddle kick off the record with “Put It to Use”, a call to quit slacking as ‘time is comin’, put it to use’. “Solar Flare” is somber yet motivating, a funeral dirge both a sad tale and another call to make sure you don’t take any regrets to the grave while “MK Ultra Blues” finds Whitmore strumming his banjo and narrating the tale of the CIA’s mind experiments that included giving the human subjects LSD. “History” is a pedal steel heavy, weary ballad and “I’m Here”, a wrenching love song. The closer in “Black Iowa Dirt” is a jig ready fiddle tune sounding as if it was pulled from public domain, a Gospel-tinged homage from an Iowa farmer to the land he works. William Elliott Whitmore keeps it simple with a minimalist approach while lyrically laying it out, recording an album to keep in your back pocket only to bust it out as a lucky charm when you need it most.
 
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For more information head on over to the William Elliott Whitmore website
 

Fred Eaglesmith and Tif Ginn (from the album ALIVE available on Sweetwater Music)  (by Bryant Liggett)
The stage banter alone is worth the price of admission. Canadian Folkie Fred Eaglesmith has always had a knack for edgy, between-song dialogue, his words thought provoking, humorous if not hilarious, quips to scratch your head. Fred’s latest ALIVE is packed with them. Said stage banter precedes some of the best cuts from Eaglesmith’s past catalog. Recorded at Jammin’ Java in Vienna, Virginia in 2019, ALIVE a casual enough effort to make you think Eaglesmith is in your living room, a ball-busting pal invited over for a few beers. 
 
After a simple introduction and welcome he kicks into “Cultivator,” the first of many cuts that reference farming, family, and romance. The setlist digs into his vast catalog, cuts like “I Like Trains”, “Tractor Song”, and “Trucker Speed” are rough around the edges with minimal instrumentation, that roughness given a soft texture via the backing vocals of wife Tif Ginn. ALIVE is dark, owing more to gritty Rock’n’Roll than fluffy Folk. The chat is a ride of conversation and observations regarding his career, questioning the state of Rock’n’Roll, and pondering his place in it. Fred also questions aging fans and bangs out quote worthy one-liners like ‘manbuns aren’t going to save the world’ or ‘it’s hard to be a revolutionary when you have a large 401K’. That’s two of dozens, some of which, like when he refers to the nights lodging as ‘I don’t know where I’m staying but I’ve been told its better than all the other westerns’ come quick and as they say in the joke biz are ‘pure gold’. It’s a stellar stamp of the duo’s ability to wow a room.  
 
Listen and buy the music of Fred Eaglesmith and Tif Ginn from AMAZON
 
For more information head on over to the Fred Eaglesmith website
​